Everywhere except in England this was a period, like the first quarter of the century, in which official architecture exceeded private in interest. Moreover, the priority that the erection of monuments of public utility, from markets and prisons to art galleries and libraries, received over the building of churches and palaces gave significant evidence of the rise of a new pattern of bourgeois culture. It is therefore quite appropriate that this library of Henri Labrouste’s should be the finest structure of the forties in France. The Bibliothèque Sainte-Geneviève is also one of the few buildings of the second quarter century anywhere in the world that has been almost universally admired ever since its completion, if successively for a variety of different reasons. The façade of the library, often ignored by those praising the visible iron structure of the interior (Figure 14), outranks in distinction almost all other contemporary examples of the Renaissance Revival anywhere in the world; but it is worth noting that the flanking administrative block and the Collège Sainte-Barbe also offer a premonition of the next period in their prominent mansard roofs. (Henri’s brother F.-M.-T. Labrouste (1799-1855) supervised the construction of the college.) The façade of Henri’s administrative block is a composition of real originality and exquisite co-ordination of parts to which the term Renaissance Revival need hardly be applied; this is what _style Louis Philippe_ really means, or ought at least to mean. By Charles X’s time the Salle des Cinq Cents at the Palais Bourbon, erected by the two older Gisors and Leconte in the 1790s, was in such a bad state that it was necessary to rebuild it, adding at the same time a library. J.-J.-B. de Joly (1788-1865) in 1828-33 followed closely the original design; but behind the scenes, as it were, he used a great deal of iron to ensure a lasting structure. He also embellished the walls with a richly coloured sheathing of French marbles and, in the library, with murals by Delacroix. With less originality, but with respect for a major monument of the seventeenth century, H.-A.-G. de Gisors much enlarged the Luxembourg for Louis Philippe in 1834-41, repeating Salomon de Brosse’s original garden façade, in order to accommodate a new chamber for the House of Peers. His chamber followed closely the earlier one there of 1798 by Chalgrin; the new chapel which he also provided at the Luxembourg has even more of the colouristic richness demanded by advanced taste in this period. The Luxembourg Orangery, later the Luxembourg Museum, which was built by Gisors in 1840 in an early seventeenth-century mode, used brick for the walls with only the dressings of stone, a rare instance of such external bichromy in the Paris of its day despite the lively interest in the employment of colour in architecture.